1,720,993 research outputs found
Jonathan D. Spence, The Memory Palace of Matteo Ricci
No full textJohnson David. Jonathan D. Spence, The Memory Palace of Matteo Ricci. In: Annales. Economies, sociétés, civilisations. 41ᵉ année, N. 1, 1986. pp. 91-94
Jonathan D. Spence, The Memory Palace of Matteo Ricci
No full textJohnson David. Jonathan D. Spence, The Memory Palace of Matteo Ricci. In: Annales. Économies, Sociétés, Civilisations. 41ᵉ année, N. 1, 1986. pp. 91-94
Jonathan D. Spence, Chinese Roundabout. Essays in History and Culture, New York, W.W. Norton and Co., 1992
No full textFabre Guilhem. Jonathan D. Spence, Chinese Roundabout. Essays in History and Culture, New York, W.W. Norton and Co., 1992. In: Études chinoises, vol. 14, n°1, Printemps 1995. pp. 168-170
Jonathan D. Spence, Chinese Roundabout. Essays in History and Culture, New York, W.W. Norton and Co., 1992
No full textFabre Guilhem. Jonathan D. Spence, Chinese Roundabout. Essays in History and Culture, New York, W.W. Norton and Co., 1992. In: Études chinoises, vol. 14, n°1, Printemps 1995. pp. 168-170
Jonathan D. Spence, Le Chinois de Charenton : de Canton à Paris au 18e siècle. Traduit de l'anglais par Martine Leroy-Battistelli, 1990
No full textElisseeff Danielle. Jonathan D. Spence, Le Chinois de Charenton : de Canton à Paris au 18e siècle. Traduit de l'anglais par Martine Leroy-Battistelli, 1990. In: Études chinoises, vol. 9, n°2, Automne 1990. pp. 192-195
La Chine imaginaire
No full textDepuis sept siècles, la Chine exerce une étonnante fascination sur l'Occident. Dès les premiers contacts, elle est apparue comme un objet de désir plutôt que de connaissance et, très vite, elle est devenue une construction imaginaire et un enjeu des débats internes de l'Occident. C'est l'histoire de la Chine comme l'ont comprise et imaginée les Occidentaux que retrace ici le grand sinologue américain Jonathan D. Spence. Pour rendre compte de cette fascination, il fait appel aux récits des voyageurs, aux systèmes des philosophes, aux rapports des diplomates, aux témoignages des missionnaires et, surtout, aux œuvres des grands écrivains qui, de Mendes Pinto à Italo Calvino, en passant par Voltaire, Segalen et Brecht, ont voulu communiquer leur vision de la Chine. Grossiers ou subtils, généreux ou empreints de préjugés, sobres ou avides d'exotisme, ces documents nous en apprennent finalement autant sur l'Occident que sur la Chine
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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